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The Business of Producing

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BUSINESS OF PRODUCING Course: MKTG-GB.2116.30 Spring 2019 Professor: Peter Newman Email: [email protected] Location: KMC 5-80 Teaching Assistant: Kristian King Email: [email protected] COURSE BACKGROUND This specialized EMT course is a “soup to nuts” examination of what it means to be an independent film and television producer. Through real life experiences it looks into what makes film and TV such unique businesses. The course will take a close look at the inevitable battles between commerce and art. It will focus on identifying the factors of risk versus reward in selecting projects, and seeing them to fruition. As potential entrepreneurial producers, the class will study techniques in leveraging limited amounts of time and capital into maximum results; while attempting to balance unbridled optimism against sensible business logic. COURSE OBJECTIVES - Understand the role and responsibilities of being an independent producer. - Establishing a way of judging the artistic merit and economic possibilities of a project at various stages from inception to completion. - To learn the infrastructures of companies in the entertainment industry, and to understand how to effectively work within them to successfully produce content. - To examine morality in the film business. How to balance one’s personal values and quality of life in a difficult business environment - What are a producer’s objectives, and how is one willing to behave to get them achieved? COURSE REQUIREMENTS 1 Class participation will be extremely important, since much of the study of the role of the producer will be obtained from specific lectures, articles, assignments, video clips, some selected texts, and experienced guest speakers. GRADING The class will be graded on the following basis: Class Participation 30% Paper/Presentation 70% Instructor Policies: Lateness: Late assignments are not accepted. If you miss any assignment deadlines, i.e., at the start of a class period on the due date, you forfeit a grade on that assignment. Absences/tardiness will lower your class participation grade significantly. Class Preparation: Topics for each lecture are identified in the syllabus. It is critical that you do the assigned reading for the week in advance of the lecture since that session will build on the reading material. It is recommended that when you are preparing for the class, read the assigned chapter(s) from the text. Class Participation: You will be evaluated on class participation by both the professor and lecturers. It is pertinent we learn your names for fair grading and interpersonal interaction. Do be sure to complete the information sheet. In addition, you are encouraged to create and use nameplates in each session. Please contribute to class sessions. This is meant to be a dialogue, not a monologue. Be ready to disagree with others and develop your own position, and engage others (rather than just the professor) in lively discussion. In a good class session, the majority of the learning comes from each participant attempting to understand the issues, limitation of theory, case problems, alternatives, etc. If successful, your increased insights and understanding will come from within and from your interactions with one another rather than from the instructor. Please continue with the reading assignments as scheduled regardless of whether the class activities at times fall behind schedule. REQUIRED READING 2 Risky Business: Financing & Distributing Independent Films, by Mark Litwak, 2nd edition, published by Hampstead Enterprises RECOMMENDED READING Although there is no required textbook for this course, it is suggested that students acquire the recommended textbook. Each week, students will be referred to sections in the recommended text that address the topics discussed in class. This reading is optional. The Movie Business Book, Third Edition By: Jason E. Squire Publisher: Simon & Schuster (Fireside edition) Students are encouraged to staying up to date with industry news. A convenient way of doing so is by visiting the following sites on a regular basis: 1. www.deadline.com/hollywood/ (Nikki Finke XXX) 2. www.variety.com 3. www.hollywoodreporter.com 4. http://www.thewrap.com/ 5. www.indiewire.com (Link to Anne Thompson) 6. http://blogs.indiewire.com/sydneylevine/ 7. www.studiosystemnews.com 8. www.moviecitynews.com (David Poland) 9. www.imdb.com 10. www.imdbpro.com 11. www.filmfreeway.com 12. www.ease.com 13. http://www.thelocationguide.com 14. http://www.ep.com/ 15. http://screeninternational.com 16. www.HOLLYWOOD-ELSEWHERE.COM (Jeff Wells) SUPPLEMENTARY READING Bambi vs. Godzilla: On the Nature, Purpose, and Practice of the Movie Business By: David Mamet Publisher: Pantheon A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond By: Christine Vachon and Austin Bunn Publisher: Simon & Schuster 3 Shooting to Kill By: Christine Vachon and David Edelstein Publisher: Harper Paperbacks; New Ed edition What They Don't Teach You At Film School: 161 Strategies to Making Your Own Movie No Matter What By: Camille Landau, Tiara White Publisher: Hyperion The Independent Film Producer's Survival Guide: A Business and Legal Sourcebook By: Gunnar Erickson, et al Publisher: Schirmer Trade Books (a division of the Music Sales Group) Down and Dirty Pictures By: Peter Biskind Publisher: Simon & Schuster Paperbacks Screen International, Wall Street Journal Internet Sites: BoxOfficeMojo.com, Ain’tItCool.com, youtube.com 4 PETER NEWMAN, Producer PETER NEWMAN has established himself as one of the motion picture industry’s leading producers of quality entertainment. New York-based Peter Newman Productions has worked with some of the world’s most important filmmakers, including Robert Altman, Paul Auster, Jonathan Demme, Nancy Savoca, John Sayles, and Wayne Wang among its 30 films. Most recently he produced Noah Baumbach’s THE SQUID AND THE WHALE, which won the Best Writing and Directing Awards at the 2005 Sundance Film Festival. THE SQUID AND THE WHALE which stars Jeff Daniels and Laura Linney, was a co- production with Wes Anderson’s American Empirical Pictures. It was nominated for six Spirit Awards, including Best Picture; three Golden Globes, including Best Film - Musical or Comedy; and received an Academy Award nomination for Best Original Screenplay. A former sportscaster, Newman began his road toward producing when he served as executive producer and host of the PBS special, MUHAMMED ALI: ONE MORE MIRACLE. He went on to produce documentary profiles of ballet dancers Gelsey Kirkland and Natalia Makarova before turning to feature filmmaking in 1982 with Robert Altman’s BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN. The film, which starred Cher, Sandy Dennis, Karen Black and Kathy Bates, was the grand prize winner of the Chicago International Film Festival. Newman then moved into features full-time, serving either as producer or executive producer on numerous films including two-time Academy Award-winner Horton Foot’s “1918” and ON VALENTINE’S DAY, Jonathan Demme’s film of Spalding Gray’s SWIMMING TO CAMBODIA, Harry Hook’s re-make of LORD OF THE FLIES, Altman’s O.C & STIGGS, Jay Russell’s END OF THE LINE, Anthony Drazin’s ZEBRAHEAD, the Sundance Filmmakers Trophy winner which he co-executive produced with Oliver Stone, and John Sayle’s THE SECRET OF ROAN INISH. In 1989, Newman produced Nancy Savoca’s DOGFIGHT, a Warner Brothers release starring River Phoenix and Lili Taylor. He then went on to produce Savoca’s HOUSEHOLD SAINTS for Fine Line Features, starring Lili Taylor and Tracy Ullman, before collaborating with her again on THE 24 HOUR WOMAN. With future partner Greg Johnson, Newman produced Wayne Wang’s film of Paul Auster’s SMOKE, starring Harvey Keitel and William Hurt. SMOKE was the winner of three major awards at the 1995 Berlin Film Festival and was voted best film at the 1995 Locarno International Film Festival. Newman and Johnson also collaborated on Wang and Auster’s BLUE IN THE FACE, the extemporaneously created companion piece to SMOKE, as well as the independent sci-fi comedy SPACE TRUCKERS, which premiered at the 1997 Sundance Film Festival. 5 Among Newman’s other producing credits are Sara Kernochan’s ALL I WANNA DO, starring Kirsten Dunst and Rachel Leigh Cook (Miramax), and Paul Auster’s directorial debut LULU ON THE BRIDGE, which premiered at the 1998 Cannes Film Festival. Newman also produced on Wayne Wang’s digital video theatrical feature, THE CENTER OF THE WORLD for Artisan, as well as Bob Gale’s (BACK TO THE FUTURE) INTERSTATE 60, featuring James Marsden, Gary Oldman and Michael J. Fox for 7 Arts. He was executive producer of Alfredo deVilla’s WASHINGTON HEIGHTS, which won the audience prize at the 2002 Los Angeles Film Festival. In conjunction with Crusader Entertainment, he produced THE GAME OF THEIR LIVES directed by David Anspaugh (HOOSIERS), which opened theatrically national-wide in April 2005. Mr. Newman has been a featured speaker at the Sundance Institute’s Producers Conference in 1991 and 2005; as well as appearing on numerous film festival panels, including Cannes and New York. Additionally, he has lectured on the movie business at Yale, Columbia, and New York University. He is presently an adjunct professor at NYU in the Graduate Film program at Tisch, and the Graduate MBA program at Stern. Peter Newman Productions, Inc. presently has over twelve feature film projects in active development. He is currently preparing films based on the lives of Janis Joplin, Bill Veeck, and Strom Thurmond. Newman lives in New York City with his wife, Antonia and their three children. He is a graduate of Northwestern University. 6 WEEKLY CURRICULUM 1a. WEEK 1 Producing as an Entrepreneurial Venture – Doing It On Your Own: Introduction and Framework for course • Introduction to course and review of syllabus. Description of assignments. • Producing for the feature film industry o What are the responsibilities of the independent producer? o How does that differ from being a “hired gun” at a studio? o What do credits mean and why are they so important? o The infrastructure of the film business o Studios vs.
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